document_title: Blues

question_text: chess records was instrumental in the development of what style of blues

question_tokens: chess records was instrumental in the development of what style of blues

text: Blues

text: Etymology[edit]

text: The term blues may have come from "blue devils", meaning melancholy and sadness; an early use of the term in this sense is in George Colman's one-act farce Blue Devils (1798).[4] The phrase blue devils may also have been derived from Britain in the 1600s, when the term referred to the "intense visual hallucinations that can accompany severe alcohol withdrawal".[5] As time went on, the phrase lost the reference to devils, and "it came to mean a state of agitation or depression." By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday.[5] Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition.[6][7] In lyrics the phrase is often used to describe a depressed mood.[8] Some sources state that the term blues is related to "blue notes", the flatted, often microtonal notes used in blues, but the Oxford English Dictionary claims that the term blues came first and led to the naming of "blue notes".

text: Lyrics[edit]

text: The lyrics of early traditional blues verses probably often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, and then a longer concluding line over the last bars.[9] Two of the first published blues songs, "Dallas Blues" (1912) and "Saint Louis Blues" (1914), were 12-bar blues with the AAB lyric structure. W. C. Handy wrote that he adopted this convention to avoid the monotony of lines repeated three times.[10] The lines are often sung following a pattern closer to rhythmic talk than to a melody.

text: Early blues frequently took the form of a loose narrative. African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, [and] hard times".[11] This melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved.[12][13]

text: The lyrics often relate troubles experienced within African American society. For instance Blind Lemon Jefferson's "Rising High Water Blues" (1927) tells of the Great Mississippi Flood of 1927:

text: Although the blues gained an association with misery and oppression, the lyrics could also be humorous and raunchy:[14]

text: Hokum blues celebrated both comedic lyrical content and a boisterous, farcical performance style.[15] Tampa Red's classic "Tight Like That" (1928) is a sly wordplay with the double meaning of being "tight" with someone coupled with a more salacious physical familiarity. Blues songs with sexually explicit lyrics were known as dirty blues. The lyrical content became slightly simpler in postwar blues, which tended to focus on relationship woes or sexual worries. Lyrical themes that frequently appeared in prewar blues, such as economic depression, farming, devils, gambling, magic, floods and drought, were less common in postwar blues.[16]

text: The writer Ed Morales claimed that Yoruba mythology played a part in early blues, citing Robert Johnson's "Cross Road Blues" as a "thinly veiled reference to Eleggua, the orisha in charge of the crossroads".[17] However, the Christian influence was far more obvious.[18] The repertoires of many seminal blues artists, such as Charley Patton and Skip James, included religious songs or spirituals.[19] Reverend Gary Davis[20] and Blind Willie Johnson[21] are examples of artists often categorized as blues musicians for their music, although their lyrics clearly belong to spirituals.

text: Form[edit]

text: The blues form is a cyclic musical form in which a repeating progression of chords mirrors the call and response scheme commonly found in African and African-American music. During the first decades of the 20th century blues music was not clearly defined in terms of a particular chord progression.[22] With the popularity of early performers, such as Bessie Smith, use of the twelve-bar blues spread across the music industry during the 1920s and 30s.[23] Other chord progressions, such as 8-bar forms, are still considered blues; examples include "How Long Blues", "Trouble in Mind", and Big Bill Broonzy's "Key to the Highway". There are also 16-bar blues, such as Ray Charles's instrumental "Sweet 16 Bars" and Herbie Hancock's "Watermelon Man". Idiosyncratic numbers of bars are occasionally used, such as the 9-bar progression in "Sitting on Top of the World", by Walter Vinson.

text:
Chords played over a 12-bar scheme:
Chords for a blues in C:

I
I or IV
I
I7

IV
IV
I
I7

V
V or IV
I
I or V

C
C or F
C
C7

F
F
C
C7

G
G or F
C
C or G

text: The basic 12-bar lyric framework of a blues composition is reflected by a standard harmonic progression of 12 bars in a 4/4 time signature. The blues chords associated to a twelve-bar blues are typically a set of three different chords played over a 12-bar scheme. They are labeled by Roman numbers referring to the degrees of the progression. For instance, for a blues in the key of C, C is the tonic chord (I) and F is the subdominant (IV).

text: The last chord is the dominant (V) turnaround, marking the transition to the beginning of the next progression. The lyrics generally end on the last beat of the tenth bar or the first beat of the 11th bar, and the final two bars are given to the instrumentalist as a break; the harmony of this two-bar break, the turnaround, can be extremely complex, sometimes consisting of single notes that defy analysis in terms of chords.

text: Much of the time, some or all of these chords are played in the harmonic seventh (7th) form. The use of the harmonic seventh interval is characteristic of blues and is popularly called the "blues seven".[24] Blues seven chords add to the harmonic chord a note with a frequency in a 7:4 ratio to the fundamental note. At a 7:4 ratio, it is not close to any interval on the conventional Western diatonic scale.[25] For convenience or by necessity it is often approximated by a minor seventh interval or a dominant seventh chord.

text: In melody, blues is distinguished by the use of the flattened third, fifth and seventh of the associated major scale.[26] These specialized notes are called the blue or bent notes. These scale tones may replace the natural scale tones, or they may be added to the scale, as in the case of the minor blues scale, in which the flattened third replaces the natural third, the flattened seventh replaces the natural seventh and the flattened fifth is added between the natural fourth and natural fifth. While the 12-bar harmonic progression had been intermittently used for centuries, the revolutionary aspect of blues was the frequent use of the flattened third, flattened seventh, and even flattened fifth in the melody, together with crushing—playing directly adjacent notes at the same time (i.e., minor second)—and sliding, similar to using grace notes.[27] The blue notes allow for key moments of expression during the cadences, melodies, and embellishments of the blues.

text:
Detroit blues

Example of Detroit blues rock shuffle

G7 Shuffle

Example of Chicago blues shuffle

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text: Blues shuffles or walking bass reinforce the trance-like rhythm and call-and-response, and they form a repetitive effect called a groove. Characteristic of the blues since its Afro-American origins, the shuffles played a central role in swing music.[28] The simplest shuffles, which were the clearest signature of the R&B wave that started in the mid-1940s,[29] were a three-note riff on the bass strings of the guitar. When this riff was played over the bass and the drums, the groove "feel" was created. Shuffle rhythm is often vocalized as "dow, da dow, da dow, da" or "dump, da dump, da dump, da":[30] it consists of uneven, or "swung", eighth notes. On a guitar this may be played as a simple steady bass or it may add to that stepwise quarter note motion from the fifth to the sixth of the chord and back.

text:
"The Memphis Blues"

The Memphis Blues, composed by W. C. Handy in 1912 and recorded by the Victor Military Band, the first known commercial recording of Handy's first commercially successful blues composition

Crazy Blues

The first commercial recording of vocal blues by an African-American singer: Mamie Smith's performance of Perry Bradford's "Crazy Blues" in 1920

Keep your lamp trimmed and burning

Traditional spiritual performed by Texas gospel singer Blind Willie Johnson (vocal and guitar) and Willie B. Harris (vocal) in 1927, an example of the close relationship between gospel and blues music

Dupree Blues

Piedmont blues, performed in 1930 by Blind Willie Walker

Milwaukee Blues

Bluegrass, performed in 1930 by Charlie Poole, a bluesman of Irish descent

Good Liquor Gonna Carry Me Down

Chicago blues of the late prewar era, the so-called Bluebird sound, recorded by Big Bill Broonzy

Deep Elem Blues

Rockabilly version of a traditional blues recorded by Jerry Lee Lewis in 1956 or 1957

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text: History[edit]

text: Origins[edit]

text: The first publication of blues sheet music was in 1908: Antonio Maggio's "I Got the Blues" is the first published song to use the word blues. Hart Wand's "Dallas Blues" followed in 1912; W. C. Handy's "The Memphis Blues" followed in the same year. The first recording by an African American singer was Mamie Smith's 1920 rendition of Perry Bradford's "Crazy Blues". But the origins of the blues were some decades earlier, probably around 1890.[33] This music is poorly documented, partly because of racial discrimination in U.S. society, including academic circles,[34] and partly because of the low rate of literacy among rural African Americans at the time.[35]

text: Reports of blues music in southern Texas and the Deep South were written at the dawn of the 20th century. Charles Peabody mentioned the appearance of blues music at Clarksdale, Mississippi, and Gate Thomas reported similar songs in southern Texas around 1901–1902. These observations coincide more or less with the recollections of Jelly Roll Morton, who said he first heard blues music in New Orleans in 1902; Ma Rainey, who remembered first hearing the blues in the same year in Missouri; and W.C. Handy, who first heard the blues in Tutwiler, Mississippi, in 1903. The first extensive research in the field was performed by Howard W. Odum, who published an anthology of folk songs from Lafayette County, Mississippi, and Newton County, Georgia, between 1905 and 1908.[36] The first noncommercial recordings of blues music, termed proto-blues by Paul Oliver, were made by Odum for research purposes at the very beginning of the 20th century. They are now lost.[37]

text: Other recordings that are still available were made in 1924 by Lawrence Gellert. Later, several recordings were made by Robert W. Gordon, who became head of the Archive of American Folk Songs of the Library of Congress. Gordon's successor at the library was John Lomax. In the 1930s, Lomax and his son Alan made a large number of non-commercial blues recordings that testify to the huge variety of proto-blues styles, such as field hollers and ring shouts.[38] A record of blues music as it existed before 1920 can also be found in the recordings of artists such as Lead Belly[39] and Henry Thomas.[40] All these sources show the existence of many different structures distinct from twelve-, eight-, or sixteen-bar.[41][42]

text: The social and economic reasons for the appearance of the blues are not fully known.[43] The first appearance of the blues is usually dated after the Emancipation Act of 1863,[34] between 1870 and 1900, a period that coincides with post-emancipation and later, the establishment of juke joints as places where blacks went to listen to music, dance, or gamble after a hard day's work.[44] This period corresponds to the transition from slavery to sharecropping, small-scale agricultural production, and the expansion of railroads in the southern United States. Several scholars characterize the development of blues music in the early 1900s as a move from group performance to individualized performance. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people.[45]

text: According to Lawrence Levine, "there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington's teachings, and the rise of the blues." Levine stated that "psychologically, socially, and economically, African-Americans were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did."[45]

text: There are few characteristics common to all blues music, because the genre took its shape from the idiosyncrasies of individual performers.[46] However, there are some characteristics that were present long before the creation of the modern blues. Call-and-response shouts were an early form of blues-like music; they were a "functional expression ... style without accompaniment or harmony and unbounded by the formality of any particular musical structure".[47] A form of this pre-blues was heard in slave ring shouts and field hollers, expanded into "simple solo songs laden with emotional content".[48]

text: Blues has evolved from the unaccompanied vocal music and oral traditions of slaves imported from West Africa and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States. Although blues (as it is now known) can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition that transformed into an interplay of voice and guitar,[49][50] the blues form itself bears no resemblance to the melodic styles of the West African griots, and the influences are faint and tenuous.[51][52] Additionally, there are theories that the four-beats-per-measure structure of the blues might have its origins in the Native American tradition of pow wow drumming.[53]

text: No specific African musical form can be identified as the single direct ancestor of the blues.[54] However the call-and-response format can be traced back to the music of Africa. That blue notes predate their use in blues and have an African origin is attested to by "A Negro Love Song", by the English composer Samuel Coleridge-Taylor, from his African Suite for Piano, written in 1898, which contains blue third and seventh notes.[55]

text: The Diddley bow (a homemade one-stringed instrument found in parts of the American South in the early twentieth century) and the banjo are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary.[56] The banjo seems to be directly imported from West African music. It is similar to the musical instrument that griots and other Africans such as the Igbo[57] played (called halam or akonting by African peoples such as the Wolof, Fula and Mandinka).[58] However, in the 1920s, when country blues began to be recorded, the use of the banjo in blues music was quite marginal and limited to individuals such as Papa Charlie Jackson and later Gus Cannon.[59]

text: Blues music also adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment.[60] The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music".[61]

text: The musical forms and styles that are now considered the blues as well as modern country music arose in the same regions of the southern United States during the 19th century. Recorded blues and country music can be found as far back as the 1920s, when the record industry created the marketing categories "race music" and "hillbilly music" to sell music by blacks for blacks and by whites for whites, respectively. At the time, there was no clear musical division between "blues" and "country", except for the ethnicity of the performer, and even that was sometimes documented incorrectly by record companies.[62][63]

text: Though musicologists can now attempt to define the blues narrowly in terms of certain chord structures and lyric forms thought to have originated in West Africa, audiences originally heard the music in a far more general way: it was simply the music of the rural south, notably the Mississippi Delta. Black and white musicians shared the same repertoire and thought of themselves as "songsters" rather than blues musicians. The notion of blues as a separate genre arose during the black migration from the countryside to urban areas in the 1920s and the simultaneous development of the recording industry. Blues became a code word for a record designed to sell to black listeners.[64]

text: The origins of the blues are closely related to the religious music of Afro-American community, the spirituals. The origins of spirituals go back much further than the blues, usually dating back to the middle of the 18th century, when the slaves were Christianized and began to sing and play Christian hymns, in particular those of Isaac Watts, which were very popular.[65] Before the blues gained its formal definition in terms of chord progressions, it was defined as the secular counterpart of spirituals. It was the low-down music played by rural blacks.[18]

text: Depending on the religious community a musician belonged to, it was more or less considered a sin to play this low-down music: blues was the devil's music. Musicians were therefore segregated into two categories: gospel singers and blues singers, guitar preachers and songsters. However, when rural black music began to be recorded in the 1920s, both categories of musicians used similar techniques: call-and-response patterns, blue notes, and slide guitars. Gospel music was nevertheless using musical forms that were compatible with Christian hymns and therefore less marked by the blues form than its secular counterpart.[18]

text: Prewar blues[edit]

text: The American sheet music publishing industry produced a great deal of ragtime music. By 1912, the sheet music industry had published three popular blues-like compositions, precipitating the Tin Pan Alley adoption of blues elements: "Baby Seals' Blues", by "Baby" F. Seals (arranged by Artie Matthews); "Dallas Blues", by Hart Wand; and "The Memphis Blues", by W. C. Handy.[66]

text: Handy was a formally trained musician, composer and arranger who helped to popularize the blues by transcribing and orchestrating blues in an almost symphonic style, with bands and singers. He became a popular and prolific composer, and billed himself as the "Father of the Blues"; however, his compositions can be described as a fusion of blues with ragtime and jazz, a merger facilitated using the Cuban habanera rhythm that had long been a part of ragtime;[17][67] Handy's signature work was the "Saint Louis Blues".

text: In the 1920s, the blues became a major element of African American and American popular music, reaching white audiences via Handy's arrangements and the classic female blues performers. The blues evolved from informal performances in bars to entertainment in theaters. Blues performances were organized by the Theater Owners Bookers Association in nightclubs such as the Cotton Club and juke joints such as the bars along Beale Street in Memphis. Several record companies, such as the American Record Corporation, Okeh Records, and Paramount Records, began to record African-American music.

text: As the recording industry grew, country blues performers like Bo Carter, Jimmie Rodgers (country singer), Blind Lemon Jefferson, Lonnie Johnson, Tampa Red and Blind Blake became more popular in the African American community. Kentucky-born Sylvester Weaver was in 1923 the first to record the slide guitar style, in which a guitar is fretted with a knife blade or the sawed-off neck of a bottle.[68] The slide guitar became an important part of the Delta blues.[69] The first blues recordings from the 1920s are categorized as a traditional, rural country blues and a more polished city or urban blues.

text: Country blues performers often improvised, either without accompaniment or with only a banjo or guitar. Regional styles of country blues varied widely in the early 20th century. The (Mississippi) Delta blues was a rootsy sparse style with passionate vocals accompanied by slide guitar. The little-recorded Robert Johnson[70] combined elements of urban and rural blues. In addition to Robert Johnson, influential performers of this style included his predecessors Charley Patton and Son House. Singers such as Blind Willie McTell and Blind Boy Fuller performed in the southeastern "delicate and lyrical" Piedmont blues tradition, which used an elaborate ragtime-based fingerpicking guitar technique. Georgia also had an early slide tradition,[71] with Curley Weaver, Tampa Red, "Barbecue Bob" Hicks and James "Kokomo" Arnold as representatives of this style.[72]

text: The lively Memphis blues style, which developed in the 1920s and 1930s near Memphis, Tennessee, was influenced by jug bands such as the Memphis Jug Band or the Gus Cannon's Jug Stompers. Performers such as Frank Stokes, Sleepy John Estes, Robert Wilkins, Joe McCoy, Casey Bill Weldon and Memphis Minnie used a variety of unusual instruments such as washboard, fiddle, kazoo or mandolin. Memphis Minnie was famous for her virtuoso guitar style. Pianist Memphis Slim began his career in Memphis, but his distinct style was smoother and had some swing elements. Many blues musicians based in Memphis moved to Chicago in the late 1930s or early 1940s and became part of the urban blues movement.[73][74]

text: Urban blues[edit]

text: City or urban blues styles were more codified and elaborate, as a performer was no longer within their local, immediate community, and had to adapt to a larger, more varied audience's aesthetic.[75] Classic female urban and vaudeville blues singers were popular in the 1920s, among them "the big three"—Gertrude "Ma" Rainey, Bessie Smith, and Lucille Bogan—and Victoria Spivey. Mamie Smith, more a vaudeville performer than a blues artist, was the first African American to record a blues song in 1920; her second record, "Crazy Blues", sold 75,000 copies in its first month.[76] Ma Rainey, the "Mother of Blues", and Bessie Smith each "[sang] around center tones, perhaps in order to project her voice more easily to the back of a room". Smith would "sing a song in an unusual key, and her artistry in bending and stretching notes with her beautiful, powerful contralto to accommodate her own interpretation was unsurpassed".[77]

text: In 1920 the vaudeville singer Lucille Hegamin became the second black woman to record blues when she recorded "The Jazz Me Blues".[78] These recordings were typically labeled "race records" to distinguish them from records sold to white audiences. Nonetheless, the recordings of some of the classic female blues singers were purchased by white buyers as well.[79] These blueswomen's contributions to the genre included "increased improvisation on melodic lines, unusual phrasing which altered the emphasis and impact of the lyrics, and vocal dramatics using shouts, groans, moans, and wails. The blues women thus effected changes in other types of popular singing that had spin-offs in jazz, Broadway musicals, torch songs of the 1930s and 1940s, gospel, rhythm and blues, and eventually rock and roll."[80]

text: Urban male performers included popular black musicians of the era, such as Tampa Red, Big Bill Broonzy and Leroy Carr. An important label of this era was the Chicago-based Bluebird Records. Before World War II, Tampa Red was sometimes referred to as "the Guitar Wizard". Carr accompanied himself on the piano with Scrapper Blackwell on guitar, a format that continued well into the 1950s with artists such as Charles Brown and even Nat "King" Cole.[69]

text: Boogie-woogie was another important style of 1930s and early 1940s urban blues. While the style is often associated with solo piano, boogie-woogie was also used to accompany singers and, as a solo part, in bands and small combos. Boogie-Woogie style was characterized by a regular bass figure, an ostinato or riff and shifts of level in the left hand, elaborating each chord and trills and decorations in the right hand. Boogie-woogie was pioneered by the Chicago-based Jimmy Yancey and the Boogie-Woogie Trio (Albert Ammons, Pete Johnson and Meade Lux Lewis).[81] Chicago boogie-woogie performers included Clarence "Pine Top" Smith and Earl Hines, who "linked the propulsive left-hand rhythms of the ragtime pianists with melodic figures similar to those of Armstrong's trumpet in the right hand".[75] The smooth Louisiana style of Professor Longhair and, more recently, Dr. John blends classic rhythm and blues with blues styles.

text: Another development in this period was big band blues. The "territory bands" operating out of Kansas City, the Bennie Moten orchestra, Jay McShann, and the Count Basie Orchestra were also concentrating on the blues, with 12-bar blues instrumentals such as Basie's "One O'Clock Jump" and "Jumpin' at the Woodside" and boisterous "blues shouting" by Jimmy Rushing on songs such as "Going to Chicago" and "Sent for You Yesterday". A well-known big band blues tune is Glenn Miller's "In the Mood". In the 1940s, the jump blues style developed. Jump blues grew up from the boogie woogie wave and was strongly influenced by big band music. It uses saxophone or other brass instruments and the guitar in the rhythm section to create a jazzy, up-tempo sound with declamatory vocals. Jump blues tunes by Louis Jordan and Big Joe Turner, based in Kansas City, Missouri, influenced the development of later styles such as rock and roll and rhythm and blues.[82] Dallas-born T-Bone Walker, who is often associated with the California blues style,[83] performed a successful transition from the early urban blues à la Lonnie Johnson and Leroy Carr to the jump blues style and dominated the blues-jazz scene at Los Angeles during the 1940s.[84]

text: The transition from country blues to urban blues that began in the 1920s was driven by the successive waves of economic crisis and booms which led many rural blacks to move to urban areas, in a movement known as the Great Migration. The long boom following World War II induced another massive migration of the African-American population, the Second Great Migration, which was accompanied by a significant increase of the real income of the urban blacks. The new migrants constituted a new market for the music industry. The term race record, initially used by the music industry for African-American music, was replaced by the term rhythm and blues. This rapidly evolving market was mirrored by Billboard magazine's Rhythm and Blues chart. This marketing strategy reinforced trends in urban blues music such as the use of electric instruments and amplification and the generalization of the blues beat, the blues shuffle, which became ubiquitous in R&B. This commercial stream had important consequences for blues music, which, together with jazz and gospel music, became a component of R&B.[85]

text: After World War II, new styles of electric blues became popular in cities such as Chicago,[87] Memphis,[88] Detroit[89][90] and St. Louis. Electric blues used electric guitars, double bass (gradually replaced by bass guitar), drums, and harmonica (or "blues harp") played through a microphone and a PA system or an overdriven guitar amplifier. Chicago became a center for electric blues from 1948 on, when Muddy Waters recorded his first success, "I Can't Be Satisfied".[91] Chicago blues is influenced to a large extent by Delta blues, because many performers had migrated from the Mississippi region.

text: Howlin' Wolf, Muddy Waters, Willie Dixon and Jimmy Reed were all born in Mississippi and moved to Chicago during the Great Migration. Their style is characterized by the use of electric guitar, sometimes slide guitar, harmonica, and a rhythm section of bass and drums.[92] The saxophonist J. T. Brown played in bands led by Elmore James and by J. B. Lenoir, but the saxophone was used as a backing instrument for rhythmic support more than as a lead instrument.

text: Little Walter, Sonny Boy Williamson (Rice Miller) and Sonny Terry are well known harmonica (called "harp" by blues musicians) players of the early Chicago blues scene. Other harp players such as Big Walter Horton were also influential. Muddy Waters and Elmore James were known for their innovative use of slide electric guitar. Howlin' Wolf and Muddy Waters were known for their deep, "gravelly" voices.

text: The bassist and prolific songwriter and composer Willie Dixon played a major role on the Chicago blues scene. He composed and wrote many standard blues songs of the period, such as "Hoochie Coochie Man", "I Just Want to Make Love to You" (both penned for Muddy Waters) and, "Wang Dang Doodle" and "Back Door Man" for Howlin' Wolf. Most artists of the Chicago blues style recorded for the Chicago-based Chess Records and Checker Records labels. Smaller blues labels of this era included Vee-Jay Records and J.O.B. Records. During the early 1950s, the dominating Chicago labels were challenged by Sam Phillips' Sun Records company in Memphis, which recorded B. B. King and Howlin' Wolf before he moved to Chicago in 1960.[93] After Phillips discovered Elvis Presley in 1954, the Sun label turned to the rapidly expanding white audience and started recording mostly rock 'n' roll.[94]

text: In the 1950s, blues had a huge influence on mainstream American popular music. While popular musicians like Bo Diddley[89] and Chuck Berry,[95] both recording for Chess, were influenced by the Chicago blues, their enthusiastic playing styles departed from the melancholy aspects of blues. Chicago blues also influenced Louisiana's zydeco music,[96] with Clifton Chenier[97] using blues accents. Zydeco musicians used electric solo guitar and cajun arrangements of blues standards.

text: In England, electric blues took root there during a much acclaimed Muddy Waters tour. Waters, unsuspecting of his audience's tendency towards skiffle, an acoustic, softer brand of blues, turned up his amp and started to play his Chicago brand of electric blues. Although the audience was largely jolted by the performance, the performance influenced local musicians such as Alexis Korner and Cyril Davies to emulate this louder style, inspiring the British invasion of the Rolling Stones and the Yardbirds.[98]

text: In the late 1950s, a new blues style emerged on Chicago's West Side pioneered by Magic Sam, Buddy Guy and Otis Rush on Cobra Records.[99] The "West Side sound" had strong rhythmic support from a rhythm guitar, bass guitar and drums and as perfected by Guy, Freddie King, Magic Slim and Luther Allison was dominated by amplified electric lead guitar.[100][101] Expressive guitar solos were a key feature of this music.

text: Other blues artists, such as John Lee Hooker had influences not directly related to the Chicago style. John Lee Hooker's blues is more "personal", based on Hooker's deep rough voice accompanied by a single electric guitar. Though not directly influenced by boogie woogie, his "groovy" style is sometimes called "guitar boogie". His first hit, "Boogie Chillen", reached number 1 on the R&B charts in 1949.[102]

text: By the late 1950s, the swamp blues genre developed near Baton Rouge, with performers such as Lightnin' Slim,[103] Slim Harpo,[104] Sam Myers and Jerry McCain around the producer J. D. "Jay" Miller and the Excello label. Strongly influenced by Jimmy Reed, Swamp blues has a slower pace and a simpler use of the harmonica than the Chicago blues style performers such as Little Walter or Muddy Waters. Songs from this genre include "Scratch my Back", "She's Tough" and "I'm a King Bee". Alan Lomax's recordings of Mississippi Fred McDowell would eventually bring him wider attention on both the blues and folk circuit, with McDowell's droning style influencing North Mississippi hill country blues musicians.[105]

text: 1960s and 1970s[edit]

text: By the beginning of the 1960s, genres influenced by African American music such as rock and roll and soul were part of mainstream popular music. White performers such as the Beatles had brought African-American music to new audiences, both within the U.S. and abroad. However, the blues wave that brought artists such as Muddy Waters to the foreground had stopped. Bluesmen such as Big Bill Broonzy and Willie Dixon started looking for new markets in Europe. Dick Waterman and the blues festivals he organized in Europe played a major role in propagating blues music abroad. In the UK, bands emulated U.S. blues legends, and UK blues rock-based bands had an influential role throughout the 1960s.[106]

text: Blues performers such as John Lee Hooker and Muddy Waters continued to perform to enthusiastic audiences, inspiring new artists steeped in traditional blues, such as New York–born Taj Mahal. John Lee Hooker blended his blues style with rock elements and playing with younger white musicians, creating a musical style that can be heard on the 1971 album Endless Boogie. B. B. King's singing and virtuoso guitar technique earned him the eponymous title "king of the blues". King introduced a sophisticated style of guitar soloing based on fluid string bending and shimmering vibrato that influenced many later electric blues guitarists.[107] In contrast to the Chicago style, King's band used strong brass support from a saxophone, trumpet, and trombone, instead of using slide guitar or harp. Tennessee-born Bobby "Blue" Bland, like B. B. King, also straddled the blues and R&B genres. During this period, Freddie King and Albert King often played with rock and soul musicians (Eric Clapton and Booker T & the MGs) and had a major influence on those styles of music.

text: The music of the Civil Rights Movement[108] and Free Speech Movement in the U.S. prompted a resurgence of interest in American roots music and early African American music. As well festivals such as the Newport Folk Festival[109] brought traditional blues to a new audience, which helped to revive interest in prewar acoustic blues and performers such as Son House, Mississippi John Hurt, Skip James, and Reverend Gary Davis.[108] Many compilations of classic prewar blues were republished by the Yazoo Records. J. B. Lenoir from the Chicago blues movement in the 1950s recorded several LPs using acoustic guitar, sometimes accompanied by Willie Dixon on the acoustic bass or drums. His songs, originally distributed only in Europe,[110] commented on political issues such as racism or Vietnam War issues, which was unusual for this period. His album Alabama Blues contained a song with the following lyric:

text:
I never will go back to Alabama, that is not the place for me (2x)
You know they killed my sister and my brother,
and the whole world let them peoples go down there free

text: White audiences' interest in the blues during the 1960s increased due to the Chicago-based Paul Butterfield Blues Band featuring guitarist Michael Bloomfield, and the British blues movement. The style of British blues developed in the UK, when bands such as the Animals, Fleetwood Mac, John Mayall & the Bluesbreakers, the Rolling Stones, the Yardbirds, the supergroup Cream and the Irish musician Rory Gallagher performed classic blues songs from the Delta or Chicago blues traditions.[111]

text: In 1963, LeRoi Jones, later known as Amiri Baraka, was the first to write a book on the social history of the blues in Blues People: The Negro Music in White America.

text: In 1970 the trio Manal established in Argentina the basics of blues sung in Castilian. Influenced poetically by the tango and generate Beatnik,[112] and musically by the blues, rock, jazz and African music of River Plate, the trio composed of Alejandro Medina, Javier Martinez and Claudio Gabis created a music that fused the roots of a genre born in the Mississippi Delta with elements of idiosyncrasy and local geography Porteña.[112] The lyrics of Manal emphasize existentialism, the industrial city and the railroads, is notable in one of his most well-known songs, "Avellaneda Blues":

text: Vía muerta, calle con asfalto siempre destrozado.

text: Tren de carga, el humo y el hollín, están por todos lados.

text: Sur y aceite, barriles en el barro, galpón abandonado. Charco sucio, el agua va pudriendo, un zapato olvidado.

text: Dead rail, street with asphalt always shattered. Freight train, smoke and soot, are everywhere.

text: South and oil, barrels in the mud, abandoned shed. Dirty puddle, the water is rotting, a forgotten shoe.

text: The British and blues musicians of the early 1960s inspired a number of American blues rock fusion performers, including the Doors, Canned Heat, the early Jefferson Airplane, Janis Joplin, Johnny Winter, The J. Geils Band, Ry Cooder, and the Allman Brothers Band. One blues rock performer, Jimi Hendrix, was a rarity in his field at the time: a black man who played psychedelic rock. Hendrix was a skilled guitarist, and a pioneer in the innovative use of distortion and audio feedback in his music.[114] Through these artists and others, blues music influenced the development of rock music.[115]

text: Santana, which was originally called the Carlos Santana Blues Band, also experimented with Latin-influenced blues and blues rock music around this time. At the end of the 1950s appeared the bluesy Tulsa Sound merging rock'n'roll, jazz and country influences. This particular music style was popularized in the 1970s by J. J. Cale and the cover versions performed by Eric Clapton of "After Midnight" and "Cocaine".

text: In the early 1970s, The Texas rock-blues style emerged, which used guitars in both solo and rhythm roles. In contrast with the West Side blues, the Texas style is strongly influenced by the British rock-blues movement. Major artists of the Texas style are Johnny Winter, Stevie Ray Vaughan, the Fabulous Thunderbirds (led by harmonica player and singer-songwriter Kim Wilson), and ZZ Top. These artists all began their musical careers in the 1970s but they did not achieve international success until the next decade.[116]

text: 1980s to the present[edit]

text: Since the 1980s there has been a resurgence of interest in the blues among a certain part of the African-American population, particularly around Jackson, Mississippi and other deep South regions. Often termed "soul blues" or "Southern soul", the music at the heart of this movement was given new life by the unexpected success of two particular recordings on the Jackson-based Malaco label:[117] Z. Z. Hill's Down Home Blues (1982) and Little Milton's The Blues is Alright (1984). Contemporary African-American performers who work in this style of the blues include Bobby Rush, Denise LaSalle, Sir Charles Jones, Bettye LaVette, Marvin Sease, Peggy Scott-Adams, Mel Waiters, Clarence Carter, Dr. "Feelgood" Potts, O.B. Buchana, Ms. Jody, Shirley Brown, and dozens of others.

text: During the 1980s blues also continued in both traditional and new forms. In 1986 the album Strong Persuader announced Robert Cray as a major blues artist. The first Stevie Ray Vaughan recording Texas Flood was released in 1983, and the Texas-based guitarist exploded onto the international stage. John Lee Hooker's popularity was revived with the album The Healer in 1989. Eric Clapton, known for his performances with the Blues Breakers and Cream, made a comeback in the 1990s with his album Unplugged, in which he played some standard blues numbers on acoustic guitar.

text: However, beginning in the 1990s, digital multitrack recording and other technological advances and new marketing strategies including video clip production increased costs, challenging the spontaneity and improvisation that are an important component of blues music.[118]

text: In the 1980s and 1990s, blues publications such as Living Blues and Blues Revue were launched, major cities began forming blues societies, outdoor blues festivals became more common, and[119] more nightclubs and venues for blues emerged.[120]

text: In the 1990s, the largely ignored hill country blues gained minor recognition in both blues and alternative rock music circles with northern Mississippi artists R. L. Burnside and Junior Kimbrough.[105] Blues performers explored a range of musical genres, as can be seen, for example, from the broad array of nominees of the yearly Blues Music Awards, previously named W. C. Handy Awards[121] or of the Grammy Awards for Best Contemporary and Traditional Blues Album. The Billboard Blues Album chart provides an overview of current blues hits. Contemporary blues music is nurtured by several blues labels such as: Alligator Records, Ruf Records, Severn Records, Chess Records (MCA), Delmark Records, NorthernBlues Music, Fat Possum Records and Vanguard Records (Artemis Records). Some labels are famous for rediscovering and remastering blues rarities, including Arhoolie Records, Smithsonian Folkways Recordings (heir of Folkways Records), and Yazoo Records (Shanachie Records).[122]

text: From the late 2000s to the present day, blues rock has gained a cultural following, especially after the rise of the Internet, when artists started creating YouTube channels, forums, and Facebook pages. Notable blues rock musicians of this period include Joe Bonamassa, Gary Clark Jr., John Mayer, Shemekia Copeland, Eric Gales, Beth Hart, Warren Haynes, Jason Ricci, Susan Tedeschi, Derek Trucks, Ben Harper (in collaboration with Charlie Musselwhite) and Orianthi. Alternative rock artists still combine strong elements of blues in their music, especially ZZ Ward, Cage the Elephant, Jack White, and the Black Keys.

text: Musical impact[edit]

text: Blues musical styles, forms (12-bar blues), melodies, and the blues scale have influenced many other genres of music, such as rock and roll, jazz, and popular music.[123] Prominent jazz, folk or rock performers, such as Louis Armstrong, Duke Ellington, Miles Davis, and Bob Dylan have performed significant blues recordings. The blues scale is often used in popular songs like Harold Arlen's "Blues in the Night", blues ballads like "Since I Fell for You" and "Please Send Me Someone to Love", and even in orchestral works such as George Gershwin's "Rhapsody in Blue" and "Concerto in F". Gershwin's second "Prelude" for solo piano is an interesting example of a classical blues, maintaining the form with academic strictness. The blues scale is ubiquitous in modern popular music and informs many modal frames, especially the ladder of thirds used in rock music (for example, in "A Hard Day's Night"). Blues forms are used in the theme to the televised Batman, teen idol Fabian Forte's hit, "Turn Me Loose", country music star Jimmie Rodgers' music, and guitarist/vocalist Tracy Chapman's hit "Give Me One Reason".

text: Early country bluesmen such as Skip James, Charley Patton, Georgia Tom Dorsey played country and urban blues and had influences from spiritual singing. Dorsey helped to popularize Gospel music.[124] Gospel music developed in the 1930s, with the Golden Gate Quartet. In the 1950s, soul music by Sam Cooke, Ray Charles and James Brown used gospel and blues music elements. In the 1960s and 1970s, gospel and blues were merged in soul blues music. Funk music of the 1970s was influenced by soul; funk can be seen as an antecedent of hip-hop and contemporary R&B.

text: R&B music can be traced back to spirituals and blues. Musically, spirituals were a descendant of New England choral traditions, and in particular of Isaac Watts's hymns, mixed with African rhythms and call-and-response forms. Spirituals or religious chants in the African-American community are much better documented than the "low-down" blues. Spiritual singing developed because African-American communities could gather for mass or worship gatherings, which were called camp meetings.

text: Edward P. Comentale has noted how the blues was often used as a medium for art or self-expression, stating: "As heard from Delta shacks to Chicago tenements to Harlem cabarets, the blues proved—despite its pained origins—a remarkably flexible medium and a new arena for the shaping of identity and community."[125]

text: Before World War II, the boundaries between blues and jazz were less clear. Usually jazz had harmonic structures stemming from brass bands, whereas blues had blues forms such as the 12-bar blues. However, the jump blues of the 1940s mixed both styles. After WWII, blues had a substantial influence on jazz. Bebop classics, such as Charlie Parker's "Now's the Time", used the blues form with the pentatonic scale and blue notes.

text: Bebop marked a major shift in the role of jazz, from a popular style of music for dancing, to a "high-art", less-accessible, cerebral "musician's music". The audience for both blues and jazz split, and the border between blues and jazz became more defined.[126][127]

text: The blues' 12-bar structure and the blues scale was a major influence on rock and roll music. Rock and roll has been called "blues with a backbeat"; Carl Perkins called rockabilly "blues with a country beat". Rockabillies were also said to be 12-bar blues played with a bluegrass beat. "Hound Dog", with its unmodified 12-bar structure (in both harmony and lyrics) and a melody centered on flatted third of the tonic (and flatted seventh of the subdominant), is a blues song transformed into a rock and roll song. Jerry Lee Lewis's style of rock and roll was heavily influenced by the blues and its derivative boogie woogie. His style of music was not exactly rockabilly but it has been often called real rock and roll (this is a label he shares with several African American rock and roll performers).[128][129]

text: Many early rock and roll songs are based on blues: "That's All Right Mama", "Johnny B. Goode", "Blue Suede Shoes", "Whole Lotta Shakin' Goin On", "Shake, Rattle, and Roll", and "Long Tall Sally". The early African American rock musicians retained the sexual themes and innuendos of blues music: "Got a gal named Sue, knows just what to do" ("Tutti Frutti", Little Richard) or "See the girl with the red dress on, She can do the Birdland all night long" ("What'd I Say", Ray Charles). The 12-bar blues structure can be found even in novelty pop songs, such as Bob Dylan's "Obviously Five Believers" and Esther and Abi Ofarim's "Cinderella Rockefella".

text: Early country music was infused with the blues.[130] Jimmie Rodgers, Moon Mullican, Bob Wills, Bill Monroe and Hank Williams have all described themselves as blues singers and their music has a blues feel that is different, at first glance at least, from the later country pop of artists like Eddy Arnold. Yet, if one looks back further, Arnold also started out singing bluesy songs like 'I'll Hold You in My Heart'. A lot of the 1970s-era "outlaw" country music by Willie Nelson and Waylon Jennings also borrowed from the blues. When Jerry Lee Lewis returned to country after the decline of 1950s style rock and roll, he sang his country with a blues feel and often included blues standards on his albums.

text: In popular culture[edit]

text: Like jazz, rock and roll, heavy metal music, hip hop music, reggae, rap, country music, and pop music, blues has been accused of being the "devil's music" and of inciting violence and other poor behavior.[131] In the early 20th century, the blues was considered disreputable, especially as white audiences began listening to the blues during the 1920s.[67] In the early twentieth century, W.C. Handy was the first to popularize blues-influenced music among non-black Americans.

text: During the blues revival of the 1960s and '70s, acoustic blues artist Taj Mahal and legendary Texas bluesman Lightnin' Hopkins wrote and performed music that figured prominently in the popularly and critically acclaimed film Sounder (1972). The film earned Mahal a Grammy nomination for Best Original Score Written for a Motion Picture and a BAFTA nomination.[132] Almost 30 years later, Mahal wrote blues for, and performed a banjo composition, claw-hammer style, in the 2001 movie release Songcatcher, which focused on the story of the preservation of the roots music of Appalachia.

text: Perhaps the most visible example of the blues style of music in the late 20th century came in 1980, when Dan Aykroyd and John Belushi released the film The Blues Brothers. The film drew many of the biggest living influencers of the rhythm and blues genre together, such as Ray Charles, James Brown, Cab Calloway, Aretha Franklin, and John Lee Hooker. The band formed also began a successful tour under the Blues Brothers marquee. 1998 brought a sequel, Blues Brothers 2000 that, while not holding as great a critical and financial success, featured a much larger number of blues artists, such as B.B. King, Bo Diddley, Erykah Badu, Eric Clapton, Steve Winwood, Charlie Musselwhite, Blues Traveler, Jimmie Vaughan, and Jeff Baxter.

text: In 2003, Martin Scorsese made significant efforts to promote the blues to a larger audience. He asked several famous directors such as Clint Eastwood and Wim Wenders to participate in a series of documentary films for PBS called The Blues.[133] He also participated in the rendition of compilations of major blues artists in a series of high-quality CDs. Blues guitarist and vocalist Keb' Mo' performed his blues rendition of "America, the Beautiful" in 2006 to close out the final season of the television series The West Wing.


document_title: The Trials of Apollo

question_text: when is the trials of apollo coming out

question_tokens: when is the trials of apollo coming out

root

text: The Trials of Apollo

text: Synopsis[edit]

text: The series follows the trials of the god Apollo, who has been turned into a human as punishment from his father and king of the gods Zeus. Zeus is angry with Apollo for a variety of reasons, most notably for the younger god's allowing his Roman descendant Octavian to rise to power during The Heroes of Olympus series by giving him his blessing. The final book of The Heroes of Olympus, The Blood of Olympus, takes place about six months before the beginning of The Trials of Apollo.

tag: p

text: Books[edit]

text: The Hidden Oracle[edit]

text: The Hidden Oracle is the first book of the series. It is told in first-person by the main character Apollo, and uses haiku for chapter titles. The book was released on May 3, 2016.[2]

text: The book opens with Apollo landing in an alley in New York City—in the form of a mortal teenager named Lester Papadopoulos—and meeting Meg McCaffrey, a homeless daughter of Demeter. Believing that he must only undertake some simple quest to regain his immortality, Apollo/Lester and Meg travel to Camp Half-Blood, where they learn most of the world's oracles have stopped working. The two undertake a quest to locate and protect the one remaining oracle, hoping also to learn how to help the other oracles and to regain Apollo's immortality. Apollo [Lester] also finds out that the first oracle he has to save is heavily guarded by the mysterious 'beast'. Will Apollo [Lester] be able to accomplish this task?[4]

text: The Dark Prophecy[edit]

text: The Dark Prophecy is the second book in the series. It was released on May 2, 2017.

text: The book continues the story of Apollo as the mortal Lester, as he leaves the safety of Camp Half-Blood and journeys across North America to restore the remaining four Oracles and defeat the triumvirate of Roman emperors-turned-Gods, while also being helped by Leo Valdez, the now-mortal Calypso and Festus the bronze dragon.[5]

text: The Burning Maze[edit]

text: The Burning Maze is the third book in the series. It is scheduled to be released on May 1, 2018.[citation needed]

text: Supplementary works[edit]

text: Camp Half-Blood Confidential[edit]

text: A companion book titled Percy Jackson: Camp Half-Blood Confidential was released on May 2, 2017.[6]

text: Film Adaptation[edit]

text: Universal Pictures acquired the film rights of the first book The Hidden Oracle.[citation needed]


document_title: APRA Top 30 Australian songs

question_text: top 10 australian rock songs of all time

text: APRA Top 30 Australian songs

text: Top Ten songs[edit]

text:
No.
Titles
Performers
Year
Writers
Music publishers
Peak chart position

AUS[3][4]
NZ[5]

1
"Friday on My Mind"
The Easybeats
1966
Harry Vanda, George Young
J Albert & Son Pty Ltd
1
2

2
"Eagle Rock"
Daddy Cool
1971
Ross Wilson
Mushroom Music Pty Ltd
1
1

3
"Beds Are Burning"
Midnight Oil
1987
Rob Hirst, James Moginie, Peter Garrett
Sony Music Publ. Aus.
6
1

4
"Down Under"
Men at Work
1981
Colin Hay, Ron Strykert
EMI Songs Aus. Pty Ltd
1
1

5
"A Pub with No Beer"
Slim Dusty
1957
Gordon Parsons
EMI Music Publ. Aus. Pty Ltd
1[6]
—

6
"The Loved One"
The Loved Ones
1966
Ian Clyne, Gerry Humphrys, Robert Lovett
Mushroom Music Pty Ltd
2
—

7
"Don't Dream It's Over"
Crowded House
1986
Neil Finn
Mushroom Music Pty Ltd
8
1

8
"Khe Sanh"
Cold Chisel
1978
Don Walker
Rondor Music Aus. Pty Ltd
40
—

9
"It's A Long Way To The Top"
AC/DC
1976
Bon Scott, Angus Young, Malcolm Young
J Albert & Son Pty Ltd
5
—

10
"Quasimodo's Dream"
The Reels
1981
Dave Mason
Festival Music Pty Ltd
—
—

tag: table

text: The remaining 20 songs[edit]

text: Listed in chronological order:

text:
Year
Titles
Performers
Writers
Music publishers
Peak chart position

AUS[3][4]
NZ[5]

1922
"Along the Road to Gundagai"
Jack O'Hagan & various
Jack O'Hagan
Allans Music Aus.
—
—

1969
"The Real Thing"
Russell Morris
Johnny Young
Chappell & Co Aus.
1
—

1971
"I'll Be Gone"
Spectrum
Michael Rudd
Cellar Music Co
1
—

1972
"And the Band Played Waltzing Matilda"
The Bushwackers (1976)
Eric Bogle (1980)
Eric Bogle
Larrikin Music Publ.
—
—

1976
"I'm Stranded"
The Saints
Chris Bailey, Ed Kuepper
Mushroom Music
—
—

1979
"Cool Change"
Little River Band
Glenn Shorrock
Warner Chappell Music
—
25

1982
"Science Fiction"
Divinyls
Christina Amphlett, Mark McEntee
EMI Music Publ. Aus.
13
—

1982
"Power and the Passion"
Midnight Oil
Robert Hirst, James Moginie, Peter Garrett
Sony Music Publ. Aus.
8
4

1983
"Reckless"
Australian Crawl
James Reyne
Warner Chappell Music
1
8

1983
"Cattle and Cane"
The Go-Betweens
Grant McLennan, Robert Forster
Festival Music, Complete Music Ltd (PRS)
—
—

1983
"I Was Only Nineteen"
Redgum
John Schumann
Universal/MCA Music Publ.
1
41

1984
"Throw Your Arms Around Me"
Hunters & Collectors
John Archer, Geoffrey Crosby, Douglas Falconer, Robert Miles, Mark Seymour, Michael Waters, John Howard
Mushroom Music
49
28

1986
"Wide Open Road"
The Triffids
David McComb
Mushroom Music
64
—

1987
"To Her Door"
Paul Kelly
Paul Kelly
Mushroom Music
14
—

1988
"My Island Home"
Warumpi Band (1988), Christine Anu (1995), Neil Murray
Neil Murray
Rondor Music Aus.
—
—

1990
"The Ship Song"
Nick Cave and the Bad Seeds
Nick Cave
Mute Song (PRS), Mushroom Music
—
—

1991
"Treaty"
Yothu Yindi
Paul Kelly, Mandawuy Yunupingu, Stuart Kellaway, Cal Williams, Galarrwuy Yunupingu, Milkayngu Mununggurr, Witiyana Marika
Mushroom Music
11
—

1997
"Even When I'm Sleeping"
Leonardo's Bride
Dean Manning
Mushroom Music
4
34

1997
"Truly Madly Deeply"
Savage Garden
Darren Hayes, Daniel Jones
EMI Music Publ. Aus. / Rough Cut Music
1
12

1998
"The Day You Come"
Powderfinger
Jonathan Coghill, John Collins, Ian Haug, Darren Middleton, Bernard Fanning
Universal Music Publ.
25
—


document_title: List of Premier League seasons

question_text: when did manchester united won premier league last

text: List of Premier League seasons

text: History[edit]

text: Champions[edit]

text:
"They've deserved to win the league and now, having opened the door, if they show the same hunger they have shown this year, there's no saying what they can achieve."
Manchester United manager Alex Ferguson on his players winning the Premier League in May 1993.[1]

tag: div

text: In the inaugural season of the Premier League Manchester United finished 10 points clear of Aston Villa to win their first league championship in over 26 years.[2] The club successfully retained the title in 1993–94, leading the table after beating Aston Villa 2–1 in the third gameweek.[3] Manchester United also completed a league and cup double, beating Chelsea 4–0 in the FA Cup final. Blackburn Rovers under the investment of owner Jack Walker and manager Kenny Dalglish won their first championship since 1913–14 on the final day of the 1994–95 season.[4] Despite Blackburn losing to Liverpool, Manchester United – in second place and two points behind the leaders before kick-off had failed to capitalise on the result, drawing at West Ham United.[5] Manchester United however regained the Premier League in 1995–96 after much scrutiny over the inexperience of the first team at the beginning of the season.[6] Newcastle United who held a 12-point lead at the top in January 1996 were pegged back in the following weeks before Manchester United moved in front at the end of March.[7]

text: Manchester United retained the league in 1996–97 but were overhauled by Arsenal in the final ten weeks of the 1997–98 season, finishing second.[8][9] Arsenal, managed by Arsène Wenger in his first full season at the club also beat Newcastle 2–0 in the FA Cup final to win the trophy and accomplish a double.[10] They however failed to retain both trophies as Manchester United pipped Arsenal on the final day of the league season, winning the Premier League as well as defeating the holders in a FA Cup semi-final replay.[11] United won the league for two successive seasons: in 1999–2000 ending the season 18 points in front and 2000–01 by 10.[12][13] After four seasons without a trophy, Arsenal again completed a league and cup double in 2001–02 remarkably scoring in every single Premier League match.[14] The title the following season was won by Manchester United, with striker Ruud van Nistelrooy scoring 25 goals in 38 league matches.[15]

text: In the summer of 2003, Chelsea were taken over by businessman Roman Abramovich and despite the club spending over £100m on new players, the 2003–04 champions were Arsenal, who became the first Premier League club to win the league without defeat.[16][17] Chelsea's failure to finish first culminated in managerial changes: coach Claudio Ranieri was sacked and subsequently replaced with Portuguese José Mourinho.[18] The club won the league in 2004–05, 12 points ahead of runners-up Arsenal, scoring 72 goals and conceding 15 in the process.[19][20] Chelsea won a second successive Premier League title in 2005–06 before Manchester United became the third different club to win the league in four seasons in 2006–07.[21][22] Despite Arsenal leading the division for much of the 2007–08 season, Manchester United retained the championship on the final day of the season and won their eleventh Premier League title in 2008–09 after much competition from Liverpool.[23][24] Chelsea reclaimed the league in 2009–10, scoring a record 103 goals and won the FA Cup to end the season as double winners.[25] In May 2011, Manchester United won their 12th Premier League title and a record 19th after drawing away to Blackburn Rovers.[26]

text: Promotion and Relegation[edit]

text: This section needs expansion. You can help by adding to it. (March 2012)

text: Nottingham Forest were the first team relegated from the Premier League in the 1992–93 season, losing 0–2 at home to Sheffield United on 1 May 1993.[27] They were joined by Middlesbrough and Crystal Palace, with the latter club relegated on goal difference. Newcastle United and West Ham United were both automatically promoted from the First Division while Swindon Town triumphed in the playoffs.

text: Blackburn Rovers have been the only Premier League champions to be relegated from the league, in 1998–99 and 2011–12.

text: Top goalscorer[edit]

text: The top goalscorer in the Premier League at the end of each season is awarded the Premier League Golden Boot, known for sponsorship reasons as the Barclays Golden Boot. The first recipient was Teddy Sheringham of Tottenham Hotspur, who scored 21 goals in 40 games for the club as well as an additional goal for Nottingham Forest on the opening day of the season.[28] Andrew Cole scored 34 goals for Newcastle United in 1993–94 before Alan Shearer won three consecutive awards: twice for Blackburn Rovers including their league-winning season and once for Newcastle United in 1996–97. Chris Sutton, Michael Owen and Dion Dublin of Blackburn Rovers, Liverpool and Coventry City respectively were the joint recipients of the Golden Boot the following season, with 18 goals apiece. Owen again shared the accolade, scoring 18 goals in 1998–99 with Manchester United striker Dwight Yorke and Leeds forward Jimmy Floyd Hasselbaink. In 1999–2000, the award was given to Kevin Phillips of newly promoted Sunderland, scoring 30 goals in 36 games.[29] At a strike rate of 0.83, he was also awarded the European Golden Shoe.[29]

text: Hasselbaink was the winner in 2000–01, scoring 23 goals for Chelsea in 35 appearances.[30] Thierry Henry of Arsenal picked up the prize a year later with 24 goals and Manchester United striker Ruud van Nistelrooy was the awardee in 2002–03, scoring one more than the previous season's tally.[31][32] Henry picked up three successive Golden Boots in 2003–04, 2004–05 and 2005–06 scoring 30, 25 and 27 goals respectively.[33] Chelsea striker Didier Drogba was the top goalscorer in 2006–07 with 20 goals and Manchester United midfielder Cristiano Ronaldo contributed to his team's success in 2007–08, scoring 31 goals in 34 league games; a strike rate of 0.91.[34][35] Nicolas Anelka of Chelsea was the recipient in 2008–09 with 18 goals before his fellow strike partner Drogba won his second Golden Boot the following season with 29 goals.[36][37] Both Carlos Tevez and Dimitar Berbatov of Manchester City and Manchester United respectively each won their first Golden Boot at the end of the 2010–11 season, scoring 20 goals.[38]

text: Seasons[edit]

text:
Key

League champions won domestic double

Team qualified as UCL winners

Team qualified as UEL winners

text:
Season

Champions

Champions League[a]

UEFA Cup / Europa League[b]

Relegated

Promoted

Player

Goals[c]

Europe[d]

Top scorer

1992–93

Manchester United

&—

Aston VillaNorwich City

Crystal PalaceMiddlesbroughNottingham Forest

Newcastle UnitedWest Ham UnitedSwindon Town

Teddy Sheringham

22[e]

1993–94

Manchester United

&—

Blackburn RoversNewcastle United

Sheffield UnitedOldham AthleticSwindon Town

Crystal PalaceNottingham ForestLeicester City

Andy Cole

34

1994–95

Blackburn Rovers

&—

Manchester UnitedNottingham ForestLiverpoolLeeds United

Crystal PalaceNorwich CityLeicester CityIpswich Town

MiddlesbroughBolton Wanderers

Alan Shearer

34

1995–96

Manchester United

&—

Newcastle UnitedAston VillaArsenal

Manchester CityQueens Park RangersBolton Wanderers

SunderlandDerby CountyLeicester City

Alan Shearer

31

1996–97

Manchester United

Newcastle United

ArsenalLiverpoolAston Villa

SunderlandMiddlesbrough[f]Nottingham Forest

Bolton WanderersBarnsleyCrystal Palace

Alan Shearer

25

1997–98

Arsenal

Manchester United

LiverpoolLeeds UnitedBlackburn RoversAston Villa

Bolton WanderersBarnsleyCrystal Palace

Nottingham ForestMiddlesbroughCharlton Athletic

Dion DublinMichael OwenChris Sutton

18

1998–99

Manchester United [g]

ArsenalChelsea

Leeds United

Charlton AthleticBlackburn RoversNottingham Forest

SunderlandBradford CityWatford

Jimmy Floyd HasselbainkMichael OwenDwight Yorke

18

1999–2000

Manchester United

ArsenalLeeds United

Liverpool

WimbledonSheffield WednesdayWatford

Charlton AthleticManchester CityIpswich Town

Kevin Phillips

30[h]

2000–01

Manchester United

ArsenalLiverpool

Leeds UnitedIpswich TownChelsea

Manchester CityCoventry CityBradford City

FulhamBlackburn RoversBolton Wanderers

Jimmy Floyd Hasselbaink

23

2001–02

Arsenal

LiverpoolManchester UnitedNewcastle United

Leeds United

Ipswich TownDerby CountyLeicester City

Manchester CityWest Bromwich AlbionBirmingham City

Thierry Henry

24

2002–03

Manchester United

ArsenalNewcastle UnitedChelsea

Blackburn Rovers

West Ham UnitedWest Bromwich AlbionSunderland

PortsmouthLeicester CityWolverhampton Wanderers

Ruud van Nistelrooy

25

2003–04

Arsenal

ChelseaManchester UnitedLiverpool

Newcastle United

Leicester CityLeeds UnitedWolverhampton Wanderers

Norwich CityWest Bromwich AlbionCrystal Palace

Thierry Henry

30[i]

2004–05

Chelsea

ArsenalManchester UnitedEvertonLiverpool

Bolton WanderersMiddlesbrough

Crystal PalaceNorwich CitySouthampton

SunderlandWigan AthleticWest Ham United

Thierry Henry

25[j]

2005–06

Chelsea

Manchester UnitedLiverpoolArsenal

Tottenham HotspurBlackburn Rovers

Birmingham CityWest Bromwich AlbionSunderland

ReadingSheffield UnitedWatford

Thierry Henry

27

2006–07

Manchester United

ChelseaLiverpoolArsenal

Tottenham HotspurEvertonBolton Wanderers

Sheffield UnitedCharlton AthleticWatford

SunderlandBirmingham CityDerby County

Didier Drogba

20

2007–08

Manchester United

ChelseaArsenalLiverpool

Everton

ReadingBirmingham CityDerby County

West Bromwich AlbionStoke CityHull City

Cristiano Ronaldo

31[k]

2008–09

Manchester United

LiverpoolChelseaArsenal

EvertonAston Villa

Newcastle UnitedMiddlesbroughWest Bromwich Albion

Wolverhampton WanderersBirmingham CityBurnley

Nicolas Anelka

19

2009–10

Chelsea

Manchester UnitedArsenalTottenham Hotspur

Manchester CityAston Villa

BurnleyHull CityPortsmouth[l]

Newcastle UnitedWest Bromwich AlbionBlackpool

Didier Drogba

29

2010–11

Manchester United

ChelseaArsenalManchester City

Tottenham Hotspur

Birmingham CityBlackpoolWest Ham United

Queens Park RangersNorwich CitySwansea City

Dimitar BerbatovCarlos Tevez

20

2011–12

Manchester City

Manchester UnitedChelseaArsenal

Tottenham HotspurNewcastle United

Bolton WanderersBlackburn RoversWolverhampton Wanderers

ReadingSouthamptonWest Ham United

Robin van Persie

30

2012–13

Manchester United

Manchester CityChelseaArsenal

Tottenham Hotspur

Wigan AthleticReading  Queens Park Rangers

Cardiff CityHull CityCrystal Palace

Robin van Persie

26

2013–14

Manchester City

LiverpoolChelseaArsenal

EvertonTottenham Hotspur

Norwich CityFulhamCardiff City

Leicester CityBurnleyQueens Park Rangers

Luis Suárez

31 [m]

2014–15

Chelsea

Manchester CityArsenalManchester United

Tottenham HotspurLiverpoolSouthampton

Hull CityBurnleyQueens Park Rangers

BournemouthWatfordNorwich City

Sergio Agüero

26

2015–16

Leicester City

ArsenalTottenham HotspurManchester City

Manchester UnitedSouthamptonWest Ham United

Aston VillaNorwich CityNewcastle United

BurnleyMiddlesbroughHull City

Harry Kane

25[54]

2016–17

 Chelsea

Tottenham HotspurManchester CityLiverpoolManchester United

ArsenalEverton

SunderlandMiddlesbroughHull City

Newcastle UnitedBrighton & Hove AlbionHuddersfield Town

Harry Kane

29[55]

2017–18

Manchester City

Manchester UnitedTottenham HotspurLiverpool

ChelseaArsenalBurnley

Swansea CityStoke CityWest Bromwich Albion

Wolverhampton WanderersCardiff CityFulham

Mohamed Salah

32[56]

text: Notes[edit]

text:
Jump up ^ The Champions League was initially contested by domestic league champions of nations affiliated to UEFA. From the 1997–98 season the competition was expanded to include eight domestic league runners-up selected by a coefficient system. A preliminary spot was awarded to the third place team in the Premier League starting from the 1999–2000 season and an increase in coefficient points resulted in an extra preliminary spot announced during the 2001–02 season, awarded to the team finishing fourth in the Premier League. As of 2008–09, the top three Premier League teams will automatically qualify for the group stages of the competition while the fourth-placed team will participate in a play-off.[39][40][41][42]

Jump up ^ Since the 2001–02 season, the fifth-placed team in the Premier League automatically qualifies for the competition. If both of the domestic cup winners qualify for the Champions League through their league position, the sixth and seventh-placed teams will take their place.[43] Originally referred to as the UEFA Cup, the competition was revamped to the UEFA Europa League from the start of the 2009–10 season.[44]

Jump up ^ Goals only scored in the Premier League

Jump up ^ In addition to the Premier League champions, teams who also qualify for Europe by virtue of their league position, not those who qualify by other means such as winning the FA Cup, Football League Cup or via the Fair Play initiative. Abolished competitions such as the UEFA Cup Winners' Cup and UEFA Intertoto Cup are excluded.

Jump up ^ Sheringham joined Tottenham Hotspur in August 1992 for £2.1 million. In the league he scored one goal for Nottingham Forest (against Liverpool on the opening weekend of the season) and 21 for Tottenham Hotspur.[45][28]

Jump up ^ Middlesbrough were deducted three points and fined £50,000 by the Premier League after failing to attend the scheduled fixture against Blackburn Rovers in January 1997.[46]

Jump up ^ As well as winning the league and FA Cup, Manchester United beat Bayern Munich 2–1 in the final of the UEFA Champions League to complete a European treble.[47]

Jump up ^ Kevin Phillips won the European Golden Shoe for the 1999–2000 season, scoring 30 league goals.[48]

Jump up ^ Thierry Henry won the European Golden Shoe for the 2003–04 season, scoring 30 goals.[49]

Jump up ^ Thierry Henry was the joint holder of the European Golden Shoe with Diego Forlán who also scored 25 goals.[50]

Jump up ^ Cristiano Ronaldo was awarded the European Golden Shoe for the 2007–08 season, scoring 31 goals.[51]

Jump up ^ Portsmouth were deducted ten points after entering administration in February 2010.[52]

Jump up ^ Luis Suárez shared the European Golden Shoe for the 2013–14 season with Cristiano Ronaldo, both scoring 31 goals.[53]

tag: ol


document_title: Normal (New Girl)

question_text: when do they play true american in new girl

text: Normal (New Girl)

text: Plot[edit]

text: Jess (Zooey Deschanel) brings her new boyfriend Russell (Dermot Mulroney) home to the loft to meet her roommates. After some reluctance, the men bond when the group plays True American, an active drinking game. The game ends when Cece (Hannah Simone) retreats to Schmidt's bed, prompting Schmidt (Max Greenfield) to join her. Nick (Jake Johnson) then shares his idea for "real apps," a suite of physical "apps" for smartphones with functionality similar to a Swiss Army knife. He accidentally wounds Russell with the prototype, prompting Russell to leave, to Jess's disappointment.

text: Winston (Lamorne Morris) begins a new job in "Normal" as an assistant to sports talk show host Joe Napoli (Phil Hendrie). Winston's initial enthusiasm for the job fades when he realizes Napoli is an abrasive and disrespectful boss. Kareem Abdul-Jabbar has a cameo appearance as a guest on Napoli's show.

text: True American[edit]

text: After "Normal" aired, internet sources began to summarize the rules for True American, which the characters described as a mix of a drinking game and Candy Land where the floor is lava; it also involves shouting the names of American presidents.[1][2] The idea of True American came from a New Girl writer who played a similar game in college. As she could not remember the game's exact rules, the writers focused on making the game as funny on the page as possible, but only established chanting "JFK! FDR!" and walking on chairs. As the cast did not understand the game during shooting, the writers created more rules on the spot, advised the actors to "have fun, dig in, jump in" and play it as if "they'd been playing this thing for years and years and years." The high-energy feel of the game and the amounts of coverage made filming True American more challenging for the actors than normal episodes. Producers Dave Finkel, Brett Baer, and writer Luvh Rakhe, came up with most of the obscure American history facts, but much was cut from the finished episode.[1][3] Fox subsequently released a set of official rules for the game, which can be summarized "There are no real rules".[4] The characters also played True American in "Cooler", the 15th episode of the second season, in "Mars Landing", the 20th episode of the third season and in "Wedding Eve" the 21st episode of the fifth season.

text: Reception[edit]

text: The initial broadcast of "Normal" attracted 5.23 million US viewers.[5] The A.V. Club called the episode "the young series at its best," rating it an A- overall.[6] The staff of The Atlantic included it in their list of the best TV episodes of 2012, comparing the actors' performances to "the best sitcom ensembles" of Seinfeld, Will & Grace, and Friends.[7] Alan Sepinwall said the episode "didn't seem quite as effortlessly hilarious as several recent episodes" but was still enjoyable.[8]


document_title: Primark

question_text: which is the biggest primark in the uk

question_tokens: which is the biggest primark in the uk

text: Primark

text: History[edit]

text: Success in Ireland led to expansion to the United Kingdom, and the company opened a large store in Belfast City Centre in 1971 and one in Derby, England, in 1973.[10] The company could not use the name "Penneys" in Europe outside Ireland because J. C. Penney had the name registered.[11] The name "Primark" was then invented to use outside Ireland.[8]

text: Primark opened its current international headquarters in 2015 in a redeveloped Dublin building, Arthur Ryan House, formerly Chapel House.[5][12][13][14]

text: Products[edit]

text: Primark offer a diverse range of products, including newborn and children's clothing, women's wear, men's wear, home ware, accessories, footwear, beauty products and confectionery. The company sells clothes at the low cost end of the market below average prices. Along with retailers such as Zara and H&M, Primark contributes to the contemporary fast fashion trend. According to an article about Primark in The Economist, "For many shoppers, Primark has an irresistible offer: amazing trendy clothes at amazingly low prices. The result is a new and even faster kind of fast fashion, which forces consumers to buy heaps of items sometimes even the same ones to use when the first ones worn out, discard them after a few wears and then come back for another batch of new outfits."[15]

text: Primark have created a cosmetics line called "PS Pro" which has been praised by many beauty bloggers for its high quality and low price. [16]

text: Stores[edit]

text: Primark own over 315 stores.[1] The largest Primark store is located on Market Street, Manchester, England, occupying 155,000 sq ft (14,400 m2) of retail space across three floors. The company expanded rapidly in the UK in the mid-2000s. In 2005, they bought the Littlewoods retail stores for £409m, retaining 40 of the 119 stores and selling the rest.[17] In May 2006, the first Primark store outside Ireland and the United Kingdom opened in Madrid, Spain. After 10 years of constructing a chain around 40 stores in Spain, Primark opened another store in Madrid in October 2015, the second biggest in the chain.[18] In December 2008, Primark opened in the Netherlands, followed in 2009 by Portugal, Germany and Belgium. Primark opened its first store in Austria on 27 September 2012 in Innsbruck. It expanded to France in 2013, in Marseilles.[19] The first Italian store opened in 2014.[20] Primark opened its first store in the United States in 2015 in Downtown Crossing, Boston, in the location that was once the flagship store of Filene's.[21]

text: Primark operates stores in the following countries:[1]

text:
Country
[hide]Number of stores

 United Kingdom
184

 Spain
44

 Ireland
37

 Germany
24

 Netherlands
18

 Portugal
11

 France
10

 United States
8

 Austria
5

 Belgium
5

 Italy
4

Total
385

text: Controversies[edit]

text: Working practices[edit]

text: In 2006, Primark joined the Ethical Trading Initiative, a collaborative organisation bringing together businesses, trades unions and NGOs to work on labour rights issues in their supply chains.[22] ETI members commit to working towards the implementation of a code of conduct based on the International Labour Organization's core conventions.

text: In December 2008, the UK charity War on Want launched a new report, Fashion Victims II, that showed conditions had not improved in Bangladeshi factories supplying Primark, two years after the charity first visited them.[23]

text: On 9 January 2009, a supplier was forced by ETI to remove its branding from Primark stores and websites following a BBC/The Observer investigation into the employment practices. The investigation alleged use of illegal immigrant labour and argued that the workers were paid less than the UK legal minimum wage.[24]

text: On 16 June 2011, the BBC Trust's Editorial Standards Committee (ESC) published its findings into a Panorama programme[25] 'Primark: On the Rack', broadcast in June 2008. The programme was an undercover investigative documentary examining poor working conditions in Indian factories supplying Primark. Although Primark subsequently stopped doing business with the Indian supplier, the ESC concluded that footage in the programme was 'more likely than not' to have been fabricated.[26] The ESC directed the BBC to make an on-air apology and to ensure that the programme was not repeated or sold to other broadcasters. Primark created a specific website to deal with the issues around the programme.[27]

text: In 2011 and 2012, Primark achieved ‘Leader’ status in the Ethical Trading Initiative (ETI).[28]

text: Building collapse at Savar[edit]

text: On 24 April 2013, the eight-story Rana Plaza commercial building collapsed in Savar, a sub-district near Dhaka, the capital of Bangladesh. At least 1,127 people died and over 2,438 were injured.[29] The factory housed a number of separate garment factories employing around 5,000 people, several shops, and a bank,[30] and manufactured apparel for brands including the Benetton Group, Joe Fresh,[31] The Children's Place, Primark, Monsoon, and DressBarn.[32][33] Primark paid compensation and emergency aid to the victims of the collapse,[10] a move which was welcomed by Oxfam,[34] and committed to review the structural integrity of buildings making its clothes.[35]

text: Of the 29 brands identified as having sourced products from the Rana Plaza factories, only 9 attended meetings held in November 2013 to agree a proposal on compensation to the victims. Several companies refused to sign, including Walmart, Carrefour, Mango, Auchan and Kik. The agreement was signed by Primark, Loblaw, Bonmarché and El Corte Inglés.[36][37]

text: SOS Messages[edit]

text: In June 2014 two labels both stitched with SOS messages were separately found in Swansea purchased garments.[38] Primark argued the supply chain showed these label messages were a hoax.[39][40]

text: Also in June 2014, a customer from Ireland found an SOS note wrapped in a prison ID card in the pocket of trousers purchased from a Primark store several years earlier.[41][42] The letter was written in Chinese and alleged that prisoners were forced to work "like oxen" making fashion clothes for export for 15 hours per day, and the food they were given wouldn't be fit for dogs or pigs.[43]

text: A year and a half later an SOS note from an alleged Chinese torture victim was found in socks purchased from Primark.[44]


document_title: Moon face

question_text: a child who has a swollen moon face is suffering from

text: Moon face

text:
Moon facies

Classification and external resources

DiseasesDB
30817

MedlinePlus
003105

[edit on Wikidata]

text: Moon facies,[1] or moon face,[2] is a medical sign in which the face develops a rounded appearance due to fat deposits on the sides of the face.[3] It is often associated with Cushing's syndrome[4] or steroid treatment (especially corticosteroids), which has led to it being known as Cushingoid facies ("Cushings-like face").[5]


document_title: Jennifer Ehle

question_text: who plays anastasia's mom in fifty shades of grey

question_tokens: who plays anastasia 's mom in fifty shades of grey

text: Jennifer Ehle

text: Early life[edit]

text: Ehle was born in Winston-Salem, North Carolina, to English actress Rosemary Harris and American author John Ehle. Aside from English, her ancestry includes Romanian (from a maternal great-grandmother) and German.[4][5]

text: Ehle appeared as a toddler in a 1973 Broadway revival of A Streetcar Named Desire, in which her mother played Blanche DuBois.[6] She spent her childhood in both the UK and the US, attending several different schools, including Interlochen Arts Academy. She was raised largely in Asheville, North Carolina. Her drama training was split between the North Carolina School of the Arts[7] and the Central School of Speech and Drama in London.[8]

text: Career[edit]

text: Ehle made her West End debut as Orgon's wife in the 1991 Peter Hall Company production of Tartuffe, for which she won second prize at the Ian Charleson Awards.[9][10] Hall then cast her as Calypso in a 1992 television adaptation of Mary Wesley's novel The Camomile Lawn, in which she and her mother played the same character at different ages.[11] This story, produced by UK's Channel 4, was a five-part miniseries about the lives and loves of a family of cousins from 1939 to the present. The two would later reprise this different age portrayal of a character as Valerie in István Szabó's 1999 movie Sunshine.

text: Her performance as Elizabeth Bennet in the BBC 1995 television adaptation of Jane Austen's classic Pride and Prejudice earned her a British Academy of Film and Television Arts (BAFTA) award. After a stint with the Royal Shakespeare Company,[12] she gained her first major feature film role in Paradise Road. She continued her career on both stage and screen. In 2000, she received further critical acclaim for her Broadway debut as Annie in Tom Stoppard's The Real Thing, winning both a Theatre World Award and the Tony Award for Best Performance by a Leading Actress in a Play. Her mother was also nominated for the same award that year for Waiting in the Wings.[13] After a hiatus, Ehle returned to the stage in 2005 in The Philadelphia Story at the Old Vic opposite Kevin Spacey. The following year, she played Lady Macbeth in Macbeth as part of the Shakespeare in the Park, and won her second Tony award for portraying three characters in Stoppard's The Coast of Utopia triptych, which ran from October 2006 until May 2007.[14]

text: Her more recent film work includes Before the Rains, an Indian-U.S. co-production directed by Santosh Sivan, and Pride and Glory with Edward Norton and Colin Farrell. In 2008, she was featured in the CBS telefilm The Russell Girl.

text: In August 2009, it was announced that Ehle would play the character of Catelyn Stark in the pilot of HBO's Game of Thrones, an adaptation of George R.R. Martin's A Song of Ice and Fire fantasy book series. Ehle filmed the pilot episode, but decided it was too soon to return to work after the birth of her daughter. She was replaced by Northern Irish actress Michelle Fairley.[15][16]

text: In 2010, Ehle starred alongside John Lithgow in the production of Mr. & Mrs. Fitch presented by Second Stage Theatre.[17] She played Myrtle Logue, wife of King George VI's speech therapist Lionel Logue, in The King's Speech. George was played by her Pride and Prejudice costar Colin Firth.

text: In 2011, Ehle played Dr. Ally Hextall in Steven Soderbergh's critically acclaimed Contagion. In the autumn of 2011, Ehle began a costarring role in the American television series A Gifted Man. Her character is a ghost who visits with her ex-husband and asks him to assist with her low-income clinic.

text: In 2012, Ehle played CIA officer Jessica in Zero Dark Thirty. In 2014, Ehle played Liz Kline in the remake, Robocop, also starring alongside James Spader as Madeline Pratt in the American TV series The Blacklist. She played Anastasia Steele's mother in the 2015 Fifty Shades of Grey film,[3] and also appeared in Spooks: The Greater Good.[18]

text: Personal life[edit]

text: Ehle married writer Michael Ryan on November 29, 2001,[19] and they have two children: a son born February 6, 2003, and a daughter born March 4, 2009.[20]

text: Work[edit]

text: Television[edit]

text:
Year
Title
Role
Notes

1992
Camomile Lawn, TheThe Camomile Lawn
Young Calypso
Miniseries, 5 episodes

1993
The Maitlands
Phyllis
BBC TV production of Ronald Mackenzie's 1930s play

1995
Pride and Prejudice
Elizabeth Bennet
Miniseries, 6 episodes

1997
Melissa
Melissa
Miniseries, 5 episodes

2008
Russell Girl, TheThe Russell Girl
Lorraine Morrissey
TV movie

2011
Game of Thrones
Catelyn Stark
Unaired pilot episode

2011
Gifted Man, AA Gifted Man
Anna Paul
16 episodes

2013
Low Winter Sun
Susan
Episode: "Ann Arbor"

2014, 2015
The Blacklist
Madeline Pratt
2 episodes

text: Film[edit]

text:
Year
Title
Role
Notes

1994
Backbeat
Cynthia Powell

1997
Paradise Road
Rosemary Leighton-Jones

1997
Wilde
Constance Lloyd Wilde

1998
Bedrooms and Hallways
Sally

1999
Sunshine
Valerie Sonnenschein

1999
This Year's Love
Sophie

2002
Possession
Christabel LaMotte

2006
Alpha Male
Alice Ferris

2005
River King, TheThe River King
Betsy Chase

2008
Pride and Glory
Abby Tierney

2008
Before the Rains
Laura
Malayalam-language film

2009
The Greatest
Joan

2010
King's Speech, TheThe King's Speech
Myrtle Logue

2011
Ides of March, TheThe Ides of March
Cindy Morris

2011
Contagion
Ally Hextall

2011
Adjustment Bureau, TheThe Adjustment Bureau
Brooklyn Ice House Bartender

2012
Zero Dark Thirty
Jessica

2014
RoboCop
Liz Kline

2014
A Little Chaos
Madame De Montespan

2014
Black or White
Carol Anderson

2014
The Forger
Kim Cutter

2015
Advantageous
Isa Cryer

2015
Fifty Shades of Grey
Carla Wilkes

2015
Spooks: The Greater Good
Geraldine Maltby

2016
Little Men
Kathy Jardine

2016
The Fundamentals of Caring
Elsa

2016
A Quiet Passion
Vinnie Dickinson

2017
Fifty Shades Darker
Carla Wilkes
Unrated edition

2017
Detroit
Morgue Doctor

2018
The Miseducation of Cameron Post
Dr. Lydia Marsh
In post-production

2018
Monster
Katherine O'Brien
In post-production

2018
The Professor and the Madman
Ada Murray
In post-production

text: Theatre[edit]

text:
Year
Title
Role
Company
Venue

1959 Pink Thunderbird

Edinburgh Festival

Laundry and Bourbon

Edinburgh Festival

1991
Tartuffe
Elmire
Peter Hall Company

1992
Breaking the Code
Pat Green
Triumph Productions Tour

1995–1996
Richard III
Lady Anne
Royal Shakespeare Company

1995–1996
Painter of Dishonour
Serafina
Royal Shakespeare Company

1995–1996
Relapse, TheThe Relapse
Amanda
Royal Shakespeare Company

1999
Real Thing, TheThe Real Thing
Annie

Donmar Warehouse

1999
Summerfolk
Varvara Mikhailovna

National Theatre

2000
Real Thing, TheThe Real Thing
Annie

Albery Theatre and Barrymore Theatre

2001
Design for Living
Gilda
Roundabout Theatre Company
American Airlines Theater

2005
Philadelphia Story, TheThe Philadelphia Story
Tracy Lord

The Old Vic, London

2006
Macbeth
Lady Macbeth
Shakespeare in the Park
Delacorte Theater

2006
Coast of Utopia, TheThe Coast of Utopia: Voyage
Liubov Bakunin

Vivian Beaumont Theater

2006
Coast of Utopia, TheThe Coast of Utopia: Shipwrecked
Natalie Herzen

Vivian Beaumont Theater

2007
Coast of Utopia, TheThe Coast of Utopia: Salvage
Malwida von Meysenbug

Vivian Beaumont Theater

2010
Mr. and Mrs. Fitch
Mrs. Fitch

Second Stage Theatre

2017
Oslo
Mona Juul

Vivian Beaumont Theatre

text: Honors[edit]

text:
1991: Ian Charleson Award, Second Prize – as Orgon's wife in Tartuffe with the Peter Hall Company[10]
1992: Radio Times Award Best Newcomer – The Camomile Lawn (TV)
1996: BAFTA TV Award – Pride and Prejudice
2000: Tony Award for Best Lead Actress in a Play – The Real Thing (play)
2000: Variety Club Award – The Real Thing (play)
2001: Golden Satellite Award for Best Supporting Actress in a Motion Picture Drama – Sunshine
2007: Tony Award for Best Featured Actress in a Play – The Coast of Utopia (play)
2010: Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture – The King's Speech

tag: ul

text:
1997: BAFTA Film Award – Wilde
2000: Outer Critics Circle Award – The Real Thing (play)
2000: Genie Award nomination – Sunshine
2000: Laurence Olivier Theatre Award – The Real Thing (play)
2007: Outer Critics Circle – The Coast of Utopia (play)
2012: Georgia Film Critics Assoc Best Supporting Actress – Zero Dark Thirty
2017: Tony Award for Best Lead Actress in a Play – Oslo